Wes Anderson: The Iconic Filmmaker and his Work (Iconic Filmmakers Series)
£21.00£26.60 (-21%)
Loaded with rich imagery and detailed analysis of his incredible films – including the classics The Grand Budapest Hotel, Rushmore, The Royal Tenenbaums and Moonrise Kingdom as well as Anderson’s highly anticipated new releaseThe French Dispatch – this is the first book to feature all of Wes Anderson’s movies in a single volume.
Acclaimed film journalist Ian Nathan provides an intelligent and thoughtful examination of the work of one of contemporary film’s greatest visionaries, charting the themes, visuals, and narratives that have come to define Anderson’s work and contributed to his films an idiosyncratic character that’s adored by his loyal fans. From Anderson’s regular cast members – including Bill Murray and Owen Wilson – to his instantly recognisable aesthetic, recurring motifs and his scriptwriting processes, this in-depth collection will reveal how Wes Anderson became one of modern cinema’s most esteemed and influential directors.
Presented in a slipcase with 8-page gatefold section, this stunning package will delight all Wes Anderson devotees and movie lovers in general.
Unauthorised and Unofficial.
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Additional information
| Publisher | White Lion Publishing, 1st edition (3 Nov. 2020) |
|---|---|
| Language | English |
| Hardcover | 176 pages |
| ISBN-10 | 0711255997 |
| ISBN-13 | 978-0711255999 |
| Dimensions | 22.23 x 3.05 x 25.53 cm |
by Irina
A very pleasant read and browse.
by gizmo
Bought as a gift for someone who is a Wes Anderson fan. Very well received and appreciated by them.
by Anne
Son was delighted with this, he follows the online account-lovely quality book
by alon
Great book
by Laingy555
My son’s a movie buff and loved this book. Presented really well in the sleeve and lovely photography inside.
by ct bunyan
Was bought for my daughter for Christmas. As she is doing media at uni. She absolutely loved it. And arrived on time. Perfect ????
by Mr. C. Hallam
As the man behind films such as Rushmore, The Royal Tenenbaums, The Darjeeling Limited and The Grand Budapest Hotel, Wes Anderson has established himself as one of the most original, imaginative and endlessly inventive filmmakers of the 21st century so far.
Frequently collaborating with Bill Murray (who is in all but one of his eleven films), Owen Wilson, Anjelica Huston and Jason Schwartzman, Anderson’s body of work is always visually pleasing regardless of whether he is producing a full blown animation (as in the case of The Fantastic Mr Fox or the often bizarre Isle of Dogs) or in one of his never ordinary live action films.
With an impressive range of pictures and extra features (for example, detailing the recurrent visual motifs in Anderson’s work) this book by film expert Ian Nathan is the perfect coffee table accompaniment to the director’s work doing full justice to him, just as Nathan’s earlier volumes on Tim Burton, the Coen Brothers and Ridley Scott did for those talented filmmakers.
by North Yorkshire
This is a richly illustrated study of Wes Anderson’s films, in a format and style matching the author’s hugely popular book on Tarantino and his very recent book on Ridley Scott. The books are elegant objects with big glossy pictures, organised around a study of the works, film by film. The format is hugely appealing and Anderson fans, in particular, will love it.
The secret of its success is not just the design, but the way the writing complements the design: the book aims to be a pleasure to read as it is to look at. Nathan is a film critic whose aim is to communicate his own enthusiasm for directors with a distinctive voice and aesthetic. The focus is very much on the films, not the critic – he explains the background to each film, the casting and production details, runs over the plot, picks out themes and stylistic elements and their popular reception. But this is done in a fun, conversational tone – more like a magazine article, not in a heavy academic or encyclopedic style. He does provide a good amount of info, he restricts the technical aspects to text boxes (signature camera techniques; key filmic influences, and such like). This works well, keeping the text light.
Nathan explores each of Anderson’s works in turn, up to and including The French Dispatch (which at the time of writing still exists only in trailer form). The characterisation of each film is very deft. Moonrise Kingdom, for example, is a mix between Bonnie and Clyde with Swallows and Amazons. Bottle Rocket’s pairing with Schultz’s Peanuts is aptly described as ‘understated poignancy’. There are lots of these little insights – they are neat little packets of info – and they are very apt when describing Anderson’s films, which he notes are like stamp albums with their own collection of influences, neatly laid out. Only once or twice did I think the info might be adjusted – the idea that Bertolucci’s The Conformist is a general influence on Anderson is mentioned, but not really explained (the controlled use of colour and framing to support the storytelling).
Great films, great book, great text – highly recommended!